1971

When Made In Germany published their eponymous album on Metronome in 1971, this was the reward for their committed practising in grumpy rehearsal rooms for many years. All this began at Beethoven Gymnasium (College) in West Berlin. The West Berliners had started as a schoolboy band in order to play the hits of their protagonists. Under the name of "Cosmics" they still considered the "making of music" a hobby. In 1968 they won the first prize in an international beat festival together with the Chechen band "Atlantis". The bands became friends and saw each others. When the musicians of "Atlantis" split up, their guitarist (Stan Regal) stayed in Berlin, married and started to work in Audio recording studio. This was a favourable combination for the band to fulfil their dream to record their music material in a proper recording studio and to get a recording contract as they were technically well-experienced and sufficiently self-confident, too…

This band started life as a trio from Northern Ireland called Method, changing their name to Andwella's Dream after moving to London in 1968. After the first LP they were known simply as Andwella. The trio were fronted by Dave Lewis (guitar/keyboard/vocals), with Nigel Smith (bass/vocals) and Gordon Barton (drums). The "World's End" album was comprised entirely of Dave Lewis compositions, but most of the tracks were more mainstream with string orchestrations, brass arrangements and background vocals. The best tracks are the mid-tempo R&B influenced "I Got A Woman" with flute solo, jazzy piano and guitar; two tracks ("Reason For Living" and "Shadow Of The Night"), which sound similar to Traffic and the slow instrumental Michael Fitzhenry which featured some good guitar work and flute. The bands' last album, "People's People" was released in 1971, after which the band broke up in 1972.

Open Spaces (1971). Esoteric Recordings are pleased to announce the release of Open Spaces by CMU, the band's debut album from 1971, this unique masterpiece is a much sought after collectors item originally released on the Transatlantic label. CMU (Contemporary Music Unit) were a unique fusion of Progressive rock, Jazz and Folk influences. In keeping with the mood of the times, Open Spaces touches a style that evokes the work of contemporaries Affinity or even Arthur Brown. In Larraine Odell, CMU had one of the few female vocalists of the Progressive era, a fine vocalist supported by a fine band…

First ever CD release for this prog rock epic. Originally recorded by Lodestone in 1971 but only released in three European countries at the time. Remastered by band member Gerry Morris and approved by original producer Tony Atkins. With a booklet featuring new liner notes on the making of the album, along with a science fiction short story. The band features ex-members of The Cymbaline, In- Sect, The Flies and Infinity. The premise of the album’s story: “The astronauts’ flight to a new star took 300 years. The four space adventurers finally awoke to discover how time flies… and how it can play some very cruel tricks…”

Curtiss Maldoon explores a fairly laid-back, folky realm colored by a little early-'70s British hard rock. "I'm waiting for the man from Afghanistan to come, I've got a kilo in the bottom of my suitcase in a cabin trunk" they nonchalantly note on "Man from Afghanistan," setting the late-period hippie tone. Oh, those permissive early '70s! The throat-stretching vocals and organ on "Long Long Time" show a Dylan influence, and perhaps a Gary Brooker/Procol Harum one, too. Madonna obsessives, as unlikely as it seems, might want to track this down for the presence of "Sepheryn," which she worked over into "Ray of Light" in 1998; it's a little more emotional and melodically and lyrically sophisticated than their typical tunes. Steve Howe plays guitar on "Warm on the Ridge; " Howe, Tony Ashton, and Roy Dyke (from Ashton, Gardner & Dyke) play on "Find a Little Peace."

Among the lesser-feted jewels released by the Vertigo label during its swirly-logo purple patch, Gravy Train's restful hybrid of jazz-tinged virtuosity, folky pastorals, and heartfelt vocalizing peaks on this, their second album, and that despite A Ballad of a Peaceful Man doing little more than treading water when compared to the experimental peaks of its predecessor. Part of the album's appeal lies in the then-novel concept of splitting its contents neatly in half, the hard rockers on one side, the softer material on the other. On the whole, the ballads have dated a lot better than the monsters, particularly "Alone in Georgia," which clashes sweet soul with (of all things!) Southern rock and, for some reason, sounds a lot like the Heavy Metal Kids.